聲音想怎樣?
Sound Matters

(For English Version Please Scroll Down)
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時間:3/16, 3/23, 3/30, 4/13, 4/20 週五晚上19:00-21:00
地點:北師美術館 台北市和平東路二段134
策劃人:郭昭蘭
主辦:春之藝術基金會、北師美術館
協辦:歌德學院(台北)德國文化中心、典藏藝術網

有一種說法表示聲音藝術是從未來主義的魯梭羅(Luigi Russolo)在1913-1930年間的作品開始的,這是第一種關於聲音遲到的說法。聲音比起繪畫、雕塑都晚到,它一直要到歷史前衛藝術那裡,才開始進入視覺藝術論述的視野。當然,這並不是說,在此之前人們不會在音樂廳中聆聽樂音、在廣場上聆聽鐘聲、在廟會上體驗喧囂的鑼鼓;而是,視覺導向的展覽空間中,被消音(muted)的聲音成了遲到的聲音。遲到的聲音因此向我們拋出了問題:聲音將如何在現代藝術的反身性論述中,在當代的跨域思維中,以一種後進的姿態推進問題意識?

「聲音想怎樣?」講座勘測遲到的聲音在藝術、文化與政治上的回響,展開的面相包括靈聽(clairaudience)的觀念與實踐、台灣現代聲響文化與其認識論模型、聲音場景在中國、聲音與衝突史、文化與政治工作中的聲音實踐。

「聲音想怎樣?」以五場講座,思索聲音佔領未來如何可能。第一場講座由來自中國的聲音理論家王婧,從技術、審美、與倫理的角度,對中國聲音場景進行批判式反思。第二場香港藝術家楊嘉輝將闡述他的「戰地鐘聲:衝突的聲音史之旅」,揭示聲音文化與痕跡、轉譯與記憶政治的交匯。相較於楊嘉輝聚焦探討聲音與摩擦、隔離、宗教、戰爭的聯繫,台灣的王虹凱將注意力轉向聲音的「聚集性」,她將與觀眾一起探索如何以「靈聽」(clairaudience)作為觀念和實踐,一方面複雜化「聆聽」的政治性,同時找尋「聚集性」的各種可能。第三場講座鄭慧華與羅悅全將目光鎖定台灣現代聲音文化,考堀它如何從「控管」與「抵抗」二者的辯證軌跡中組構;他們將嘗試大膽使用「社會作曲」作為概念來囊括這個認識論的模型。

聲音理論家Douglas BarrettChristoph Cox的物質主義與Seth Kim-Cohen的理想主義之後,提出「批判音樂」一詞,以涵蓋一群利用音樂的形式不限於聲音從事文化與政治工作的當代藝術家;在第四場的講座中,他將說明當代藝術如何在聲音的限制之後,重新思索音樂。最後,第五場講座由2016文件展策展人之一的Hendrik Folkerts主講。Folkerts2016的文章「保存譜:記譜、化身與活性」(Keeping Score. Notation, Embodiment and Liveness)出發討論譜的概念。譜經常設計表演發生的空間與社會條件,也將空間、建築與社會結構提議為音樂的或者是表演的參數。這次演講Folkerts將強調譜的不同類型學,著重它們在視覺藝術、音樂、編舞與策展的面相所展開跨領域啟發。

3/16 聲音場景批判 
王婧:中國聲音場景批判:技術、審美、與倫理
主持人:王福瑞(北藝大新媒系助理教授)
回應人:張惠笙 (藝術家)

3/23 衝突或聚集
1.楊嘉輝:戰地鐘聲,及近期作品
2.王虹凱: 「共聽者,同行者」
主持人與回應人:呂岱如(獨立策展人)

3/30 聲音、現代性、社會 
羅悅全、鄭慧華:台灣現代聲響文化與「社會作曲」
主持人與回應人:洪廣冀 (台大地理環境資源學系助理教授)

4/13 聲音之後 
Douglas Barrett:聲音的限度:聲音之後的批判音樂
主持人與回應人:黃建宏 (北藝大藝術跨域研究所所長)

4/20 號召群集
Hendrik Folkerts:號召群集 
主持人與回應人:徐文瑞(獨立策展人)

報名連結:https://goo.gl/forms/ST6U778AUHdXbM9F3
詳細單場演講大綱,請看這裡 https://goo.gl/oG2FbH

場次專題摘要說明
3/16
王婧
題目:中國聲音場景批判:技術,審美,與倫理 
摘要:在這次講座中,王婧將通過分析中國具體的聲音實踐與作品,分別從技術、審美以及倫理三個方面,對中國聲音場景作批判式反思。從聲音實踐在中國出現之初至今,外來的聲音技術(如,錄音機、調音台、聲音硬件DIY、聲音傳輸技術、多媒體編程軟件等),審美標準(如,微小、極簡、沉浸式、混沌等),以及倫理主張(以作曲家約翰凱奇與哲學家吉爾德勒茲的倫理學主張為主:相信世界自身的轉變潛力、轉變過程與權力),始終影響著中國聲音創作者、評論者以及聽眾對聲音作為一種藝術媒介的理解與判斷。與此同時,本土的政治社會、網絡、生態環境,以及滲透個人日常生活、甚至感受力(affectivity)的本土審美趣味與倫理慣習,也影響著具體聲音作品的形成、表演與展示。王婧將嘗試提出並論證,在多種外部環境和個體內在空間的換能過程影響下,中國聲音實踐場景中呈現出的兩個趨勢:新自然主義,以及,曖昧的批判性(obscure criticality

3/23
講者1:楊嘉輝
題目:「戰地鐘聲,及近期作品」(For Whom the Bell Tolls, and other recent works
藝術家楊嘉輝將在講座中闡述他持續進行中的計劃:「戰地鐘聲:衝突的聲音史之旅」。這個借用自計劃海明威同名小說的計劃嘗試提問的是:誰需要鐘?鐘為誰鑄造?為誰響?又是為誰永恆持存?這個計劃就像是一部藝術家的遊記風景,過程中,藝術家將存在於各種不同聽覺條件下發出洪亮巨響物件的聲音,加以譜曲、記錄。為期60天,橫跨5大洲的旅程,最後生產了一個錄音檔案、聲音速寫、以及給磁帶與交響樂的作曲。這次講座楊嘉輝還會分享他近期的其他創作,包括2015年的「夜曲」(Nocturne)、LRAD 表演「輪唱曲」(Canon)、多媒體表演「旋樂四重奏的解剖學」(Anatomy of a String Quartet , 2014))、咖啡清唱劇(The Coffee Cantata (Institute of Fictional Ethnomusicology, 2014)等。

講者2:王虹凱 Hong-Kai Wang 
題目:「共聽者,同行者」(Co-listeners, Co-conspirators )

在《共聽者,同行者》裡,王虹凱將從她數年結合批判性教習 (critical pedagogy) 的藝術與研究計畫裡,與觀眾一起探究如何以「靈聽」(clairaudience)作為觀念和實踐,尋找不同知識和生活網絡之間的連結,提問並複雜化「聆聽」的政治性與「聚集性」的各種可能。 

3/30
講者:羅悅全X鄭慧華
題目:台灣現代聲響文化與「社會作曲」

台灣現代聲響文化與「社會作曲」
立方計劃空間近年來對於「台灣現代聲響文化」的研究主要在於將「殘響」、「噪音」與「現代空間」同時作為閱聽線索和思考隱喻,藉以考查從日殖、戒嚴、解嚴以至於當今全球化下的台灣歷史與聲響文化發展,試圖探尋台灣現代聲音文化如何從「控管」與「抵抗」二者的辯證軌跡中組構,並且在「現代空間」裡留下什麼樣的軌跡──「殘響」──或許我們可以大膽使用「社會作曲」作為概念來囊括這個認識論的模型。

本講座亦將以「聲軌:台灣現代聲響文化資料庫」網站的內容為例,藉由幾個標誌性的事件作為節點和文本來進入台灣近現代的聲響文化中,例如從日殖時代到解嚴後田野錄音之採集意識的嬗變,以及1990年代噪音運動與解嚴後政治、社會的互動關係。

4/13
講者:Douglas Barrett 
題目:「聲音的限度:聲音之後的批判音樂」
“The Limits of Sound: Critical Music After Sound” 

聲音與音樂:聲音研究與聲音藝術的理論家經常將聲音與音樂這兩個領域的關係視為包容性的。他們主張音樂乃是聲音透過自律的、甚至是神秘鍊金般的語法排列的形式化之特殊案例。而在此同時,音樂學學者與其他專家則批評聲音的認識論建構的學科偏見(例如Brian Kane所說的「音樂恐懼」)或去歷史性(例如Georgina Born所說的「零年」現象)。但是,聲音與音樂兩方支持者之間有更為根本的區別嗎?音樂可能超越它所宣稱的對於聲音的形式堅持,投身於更廣泛的社會與政治範疇嗎?

為回應伴隨著近來藝術與人文領域「聲音轉向」的豐富聲音實踐,我為社會介入的音樂性藝術實踐提出一個新的藝術類項。我以「批判音樂」一詞,討論當代藝術家如何藉著開拓音樂獨特的形式以介入政治衝突。這些藝術家納入觀念主義、社會實踐、行動主義,探問性別、性、政治與勞動。總之,他們利用音樂的形式而不限於聲音從事文化與政治的工作。

在愛滋病危機的時候表演約翰˙卡吉的四分三十三秒、見證一群藝術家在莫斯科救世主主教座堂內上演龐克祈禱,或者觀賞今日台灣糖廠退休員工聆聽練習的紀錄影片。在這些場景中,相同的並不只是他們政治上的迫切感,還有音樂領域本身需要超越聲音限制的必要性。所以,如果不是聲音,會是甚麼將這些藝術家的作品聯合在一起呢?終究,透過動員身體與上演參與、這些藝術家部署作曲的形式:他們建構並為公共性與集體性編造(作曲)激進的形式。

4/20 
講者:Hendrik Folkerts
題目:號召群集 

號召群集
Cornelius Cardew, Jani Christou, José Maceda and Pauline Oliveros的樂譜
Hendrik Folkerts將從2016的文章「保存譜:記譜、化身與活性」(Keeping Score. Notation, Embodiment and Liveness)討論譜的概念。譜,作為音樂同時是視覺的機制,總是在語言、時間與空間之間限定一種特定的關係。在20世紀的後半,作曲家與藝術家利用音樂的、視覺的、圖形的語言,將譜提升為一種策略,使它既可以預先計畫,也可以在表演的時刻誕生,將譜、現場表演與文件的轉換關係複雜化。此外,這樣的譜經常設計表演發生的空間與社會條件,也將空間、建築與社會結構提議為音樂的或者是表演的參數。這次演講強調譜的不同類型學、著重它們在視覺藝術、音樂、編舞與展覽製作的面相,Folkerts將會聚焦Cornelius Cardew, Jani Christou, José Maceda and Pauline Oliver,四位將社會視為演奏譜時的當務之急的作曲家上。

講者簡歷
1. 王婧
聲音研究學者,藝術人類學者,聲音活動策展人。浙江大學傳媒與國際文化學院副教授, 浙江大學求是青年學者。主要工作研究領域包括,聲音研究、感官研究、人類學方法。當下,關注「聆聽」和「田野錄音」作為聲音的一種社會政治和精神文化實踐。發表專著《聲音與感受力:中國聲音實踐的人類學研究》(浙江大學出版社,2017),在國際權威期刊包RepresentationsLeonardoLeonardo Music Journal, Journal of Popular Music Studies發表學術論文若干。 20148月至今,她與本地藝術家聯合創立非營利民間組織BUS,致力於促成和推廣實驗和先鋒藝術活動。 20151月,她在浙江大學傳媒與國際文化學院創立「聲音實驗室」,致力於培養跨學科聲音實驗與實踐項目。個人網站www.sonorouspresence.org

2. 楊嘉輝
楊嘉輝於1979年在香港出生,是一位藝術家及作曲家。他每套藝術作品都經過深入的研究,並以「聲音素描」及錄音等去記錄研究過程。他的畫作、電台廣播、演出及音樂創作常涉獵衝突、戰爭及政治疆界等議題。

楊嘉輝於2015年香港巴塞爾藝術展榮獲首屆BMW藝術之旅獎,並代表香港參與2017年第57屆威尼斯雙年展。他曾於多個著名場地舉辦個人展覽,包括日本廣島市現代美術館(2015)、紐約Team Gallery2015)、香港Para/Site藝術空間(2016)、印度Experimenter畫廊(2016)、德國杜塞爾多夫美術館(2016)及曼徹斯特華人當代藝術中心(2017)等。2018年他將於第21屆悉尼雙年展及紐約古根漢美術館舉辦展覽,並將參與2019年愛丁堡藝術節(塔爾伯特萊斯畫廊)

此外,楊嘉輝是多個樂隊的成員,曾與世界各地的樂團合作。參與過的藝術盛事包括曼徹斯特國際藝術節、德國達姆施塔特國際音樂節、美國奧斯汀Fusebox音樂節、紐約電子藝術節、德國德累斯頓TonLagen當代音樂節、意大利波爾扎諾跨領域藝術節及澳洲新舊藝術博物館現代音樂節等。

3. 王虹凱 
雲林虎尾人,台灣大學政治系和紐約新學院媒體研究所畢業,現為奧地利維也納藝術學院PhD in Practice博士候選人。

王虹凱創作歷程體現知識制域、意識形態、語言與身分認同之間的張力,知識關懷歸因於縈繞在其島嶼經驗養成中的殖民與離散歷史,驅動她將分析視角放在權力、生存經歷、歷史交錯點上消亡的知識政治,並在美學、論述與知識生產的重疊之處加以脈絡化檢驗。她的作品透過表演、錄像、聲音、工作坊、論述等形式,實驗不同的聆聽模式、組織臨時的教習 (pedagogy) 性集結和合作性表演,與激發另類身體解讀,質疑並複雜化「聆聽」 與「群居性」的可能性和方法,尋求在既有年表與地理疆界之外,鍛造意想不到的群聚性與連結。

作品計畫曾於第14屆德國卡塞爾文件展、2016台北雙年展、日本京都Parasophia國際文化藝術祭、澳洲液體聲音藝術節、美國紐約現代美術館、 挪威Kunsthall Trondheim 54屆威尼斯雙年展台灣館等地發表。目前任教於美國紐約上州Bard College藝術學院音樂/聲音研究所。

4.鄭慧華與羅悅全 

鄭慧華
獨立策展人,2010年與羅悅全共同成立非營利機構立方計劃空間,該空間以策展及研究導向之實踐關注「拓展策展」的可能性,致力於深耕在地文化、與創作者的長期合作和推動台灣與國際之對話連結。鄭慧華近年的策展包括:2011威尼斯雙年展台灣館〈聽見,以及那些未被聽見的-台灣社會聲音圖景〉、〈重建/見社會〉系列(20112013)、〈現實秘境〉(2016)等;共同策劃的展覽包括:〈造音翻土戰後台灣聲響文化的探索〉(2014)以及〈告訴我一個故事──方性與敘事〉(2016)等。

羅悅全 
台北「立方計劃空間」的成立者之一,「造音翻土-戰後台灣聲響文化的探索」 2014)共同策展人,並擔任該展覽讀本(2015)的主編。曾編著〈秘密基地-台北音樂版圖〉(2000、翻譯〈迷幻異域-快樂丸與青少年文化的故事 〉(2002)。

5.Douglas Barrett 
Douglas Barrett
是一位橫跨音樂和寫作領域的藝術家。
Douglas Barrett的作品,廣泛被The WireMusik TexteGuernicaPostmodern Culture等出版物討論。他近期在挪威的USF Verftet、維吉尼亞藝術中心(VCCA)和紐約的the Catwalk Institute等地駐村,並定期在北美、歐洲以及日本等地發表作品。他分別獲得德國索立突城堡基金會(Akademie Schloss Solitude)、德國學術交流中心(DAAD)以及紐約富蘭克林熔爐(Franklin Furnace)等機構的獎助。他的文章多刊登於Postmodern CultureContemporary Music ReviewMosaicGlissando以及Tacet雜誌。其著作《After Sound: Toward a Critical Music》於2016年由英國Bloomsbury版。

藝術家自述
今日批判性實踐如何可能?在當代藝術與音樂文本相互交織的情境裏,我透過表演與時基媒體將觀念藝術、社會實踐、社會運動參與者等策略融會於作品中。我創造樂譜、錄像、文字、錄音,以及運用將音樂同時視為形式與題材的物件。我修正並再利用既有的藝術作品,音樂、歷史性文本、表演以製作新的文本,以此作為我整體的策略,並稱這樣的過程及其中出現的各個計畫為謄寫。在形式、脈絡以及時間性形形色色的交錯下,這些計畫所涉及的,諸如身份、交換、歷史、知識以及政治等問題因此被展開。也許結果這推進的力量仍舊微不足道,但終究會朝著不斷退後的臨界方向前進。

6.Hendrik Folkerts
Hendrik Folkerts(阿姆斯特丹大學藝術史碩士)近日被芝加哥藝術博物館聘任為現當代藝術策展人。除了對表演與身體政治、全球藝術史與女性主義藝術史的研究,他以委託創作來支持當代藝術家的實踐也同時展現在展覽、典藏、表演及研究計畫中包括舉辦於2018年的黎巴嫩藝術家Mounira Al Solh個展《我堅信我們有權對工作輕浮》(I strongly believe in our right to be frivolous 201828日至429日)以及一年兩次的系列表演。

Folkerts曾於20142017擔任第十四屆文件展策展人(雅典,48日至816日/卡賽爾,710日至917日,2017年)。他關注表演與記譜法、原住民實踐與東南亞暨太平洋藝術,透過策展實踐,他以委託創作的方式與大量新進藝術家合作,並與雅典、卡賽爾文件展的藝術總監Adam Szymczyk所領導的團隊一齊工作。

在此之前,Folkerts曾擔任阿姆斯特丹市立美術館表演、電影與論述計畫的策展人(2010年至2015年)。2009年至2011年間,他擔任阿姆斯特丹de Appel藝術中心的策展計畫專員。Folkerts的文章發表在《南方做為一種思想狀態》(South as a State of Mind, Mousse Magazine,、《MOUSSE雜誌》、《國際藝術論壇》(Artforum International)、《展覽主義者》(The Exhibitionist)、《大都會雜誌》(Metropolis M)、《藝術與公共領域》(Art & the Public Sphere)等出版品。他同時也是《影子文件#3:策展教育(2013)》(Shadowfiles #3: Curatorial Education)、《面相前方:從未來觀點望向藝術與理論(2014)》(Facing Forward: Art & Theory from a Future Perspective)、《阿姆斯特丹市立美術館研究期刊#:表演之處(2015)》(Stedelijk Studies #3: The Place of Performance)等書的共同編輯。

論壇策劃者:郭昭蘭
策展人暨藝術文字作者,目前生活和工作於台北,為台北藝術大學美術系副教授,主要教授20世紀後的視覺藝術與當代藝術專題。郭昭蘭長期關注藝術之於現實的動態關係。2006年起郭昭蘭開始以策展形式發表,主要關注聲音藝術、影像與視覺文化相關的文化實踐。近期研究興趣包括展覽如何發明歷史、創造知識、及其啓動衝突形勢中的協商動能。她策展的項目包括,聲音相關展覽「復音馬賽克(Phonic Mosaic)」(台中國美館,共同策劃,2006)、探討美術館作為典藏系統的「健忘症與馬勒維奇的藥房」(臺北市立美術館,2016)、聲音藝術家楊嘉輝個展「前衛吃錯藥」(臺北耿畫廊,2015)、探討國族論述與當代跨國展演機制的「台灣當代藝術展(TCA計劃)」(ISCP紐約,2011)。出版作品包括與劉文坤合譯「藝術力」(Boris Groys: Art PoweMIT2008)、雜誌專題「聲音之中,策展之上:聲音藝術的策展及其坐標與方位」(《典藏今藝術》,客座專題策劃,2014)等。

Sound Matters Lecture Series
March 16 to April 20, 2018
Curator: GUO Jau-lan
Venue: MoNTUE (Museum of Taipei National University of Education) No.134, Sec. 2, Heping E. Rd., Da-an District, Taipei City 106, Taiwan

Some point to the work of futurist Luigi Russolo between 1913 and 1930 as the advent of sound art. This is the predominant theory regarding the late arrival of sound. Sound arrived on the scene long after painting and sculpture. It did not appear on the visual art horizon until the historical avant garde.

Of course, this is not to say that people did not go to music halls to listen to music, or stand in plazas to hear the toll of bells, or experience the cacophony of gongs and drums at temple festivals; but rather, sound-muted became sound-delayed within the visually-oriented exhibition space.

Hence, the late arrival of sound poses a question: what effect does sound have on the theoretical constructs it comes in the wake of ? How does sound modify a prevailing consciousness through retrogression in the discourse of modern art within contemporary interdisciplinary contemplation?

The Sound Matters lecture series maps out the resonance in art, culture and politics of the belated arrival of sound; aspects including the expanding realm of sound as artistic practice, the concept and practice of clairaudience, contemporary sound culture in Taiwan and its epistemological model, the sound arena in China, sound and the history of conflict, and the practice of sound in cultural and political work.

Over five lecture sessions, Sound Matters contemplates the possibility of sound occupying the future.

For the first lecture, Chinese sound theorist Adel Wang Jing will critique and reflect on the sound art scene in China from the perspectives of technology, aesthetics, and ethics.

For the second lecture, Hong Kong artist Samson Young expounds on his work in progress, “For Whom the Bell Tolls: Journeys Through the Sound History of Conflict” to reveal the intersection of sound culture with the politics of remnants, translation, and memory. In contrast to the focus on connections between conflict, isolation, religion and war in Samson Young’s discussion, Hong-Kai Wang of Taiwan is attends to various modalities of “sociality” mobilized by listening. She will explore “clairaudience” as a critical concept and practice with the audience, while complicating the politics of “listening” and seeking unlikely “affiliation” beyond given times and spaces.

In the third lecture, Amy Cheng and Jeph Lo set their sights on Taiwan’s contemporary sound culture, exploring how it has been assembled from the dual dialectical trajectories of “control” and “resistance”; they will undertake a bold attempt to use “social composition” to conceptually encapsulate this epistemological model.

Following on to his response to the re-contemplation of music in contemporary art following restrictions of sound in After Sound, sound theorist Douglas Barrett will explain in the fourth lecture of the series how he coined the phrase “critical music” in the aftermath of Christoph Cox’s materialism and Seth Kim-Cohen’s idealism to encapsulate the group of contemporary artists engaged in cultural and political work who utilize the form of music but are not limited by sound.

The fifth lecture in the series will be given by Hendrik Folkerts, one of the curators of Documenta14. Folkerts will discuss the concept of the musical score with his 2016 essay “Keeping Score. Notation, Embodiment and Liveness” as a starting point. The musical score often determines the design of spatial and social conditions for a performance event; and suggests spatial, architectural and social structures as parameters for music or for performance. Folkerts will emphasize the various typologies of the score, with an emphasis on the interdisciplinary inspiration they provide for visual art, music, choreography and curatorship.

March 16
Adel-Jing Wang: Reflections on Mainland China’s Sound Practice: Techniques, Aesthetics, and Ethics
Moderator: Fu-jui Wang, Assistant Professor of Department of New Media Arts, TNUA
Discussant: Alice Hui-Sheng Chang( Artist)

Based on contemporary sound practices and artworks, I reflect critically on mainland China’s sound scene through three aspects, techniques, aesthetics and ethics. From its origin till today, musicians, artists, critics and listeners’ understanding of sound art, has always been influenced by foreign sound technology (e.g. tape recorders, DIY sound hardware, sound transmission technology, multimedia programming languages), aesthetic (e.g. micro, minimal, immersive), as well as ethics (especial John Cage and Gilles Deleuze’s confirmation on the transformative potentiality of the world and insistence on the process and liveliness of thing). At the same time, local socio-political milieus, virtual and ecological environments, and habitual tastes and ethics that have permeated individual’s everyday life and affectivity, inevitably condition the actual creation, performance and exhibition of sound works. In this talk, I attempt to propose my observation of two tendencies in the sound scene in mainland China: new naturalism and obscure criticality.  

March 23
Samson Young: For Whom the Bell Tolls, and other recent works
Moderator and Discussant: Esther Lu (Independent Curator)
In this seminar, I will discuss an on-going project For Whom the Bell Tolls: A Journey Into the Sonic History of Conflict, which takes the titles of Hemingway’s novel quite literally and asks: who needs bells? For whom are bells cast, sounded, and preserved in perpetuity? Much like the traveling landscape artist, in this work I notate and record the sounds of these large sonorous objects in a variety of auditory conditions. The 60-day journey that spans five continents will generate an archive of recordings, sound sketches, a composition for tape and orchestra. I will also discuss a couple of my recent works, including the radio broadcast piece Nocturne (2015), LRAD performance Canon (2016), multimedia performance Anatomy of a String Quartet (2014), and installation The Coffee Cantata (Institute of Fictional Ethnomusicology) (2014).

Hong-Kai Wang: Co-listeners, Co-conspirators
Moderator and Discussant: Esther Lu (Independent Curator)

In her talk titled “Co-Listeners, Co-conspirators”, Hong-Kai Wang investigates the ways in which “clairaudience” can seek to reveal affiliations between different modes of knowledge production and living praxis. Taking her work informed by critical pedagogy as a point of departure, Wang invites the audience to together inquire and complicate the politics of “listening” and the possibilities of sociality.

30 March
Amy Cheng
Jeph Lo: Taiwan's Modern Sound Cultures and Social Composition
Moderator and Discussant: Kuang-chi Hung (Assistant Professor, Department of Geography, National Taiwan University)

"Reverberation," "noise," and "modern spaces" as auditory clues and thought metaphors from which to examine the development of Taiwanese history and sound cultures from Japanese colonial period, martial law and the lifting of martial law to present days, have been the main focus of research into modern sound cultures in Taiwan at The Cube Project Space in recent years. The research explores the formations of sound cultures that has been constructed between the two dialectical trajectories of "control" and "resistance." Perhaps we can boldly use "social composition" as a concept to encapsulate this epistemological model. This lecture will use "Sound Traces: Taiwanese Modern Sound Culture Database" as a departure point and through reviewing several landmark historical events to enter the discourse, for instance, the identity consciousness in the work of field recordings from the Japanese colonial period to the post-martial law era, as well as the post-martial law interactive political and social relationships in the noise movement of the 1990s.

April 13
Douglas Barrett: The Limits of Sound: Critical Music After Sound 
Moderator and Discussant: Chien Hung Huang, Chairman of Graduate Institute of Trans-disciplinary Arts, TNUA

Sound and music: sound studies and sound art theorists often see the relationship between these two fields as inclusive. Music, they contend, is a special case of sound formalized through an essentially autonomous, even hermetic syntax. Meanwhile, musicologists and other scholars criticize sound’s epistemological construction as disciplinarily biased (e.g. Brian Kane’s “musicophobia”) or ahistorical (e.g. Georgina Born’s “year zero” phenomenon). But is there a more fundamental distinction to be made between the sonic and the musical? Can music exceed its alleged formal adherence to sound to engage with a broader social and political universe?

Responding to the proliferation of activity following the recently announced “sonic turn” in the arts and humanities, I propose a novel artistic category for socially engaged musical art practices. Coining the term “critical music,” I discuss contemporary artists who intervene into political conflicts by exploiting music’s unique historical forms. Beyond sound, these artists incorporate conceptualism, social practice, and activism in work that interrogates gender, sexuality, politics, and labor. In short, they use musical forms—not limited to sound—to do cultural and political work.

Consider, for example, John Cage’s silent composition, 4′33″, performed alongside statements made on the AIDS crisis. Witness a group of artists staging a punk prayer in central Moscow’s Cathedral of Christ the Savior. Or see a video documenting listening exercises performed by retired sugar factory workers in present-day Taiwan. Common to these scenes is not only a sense of political urgency, but also a musical field requisitely expanded beyond the limits of sound. So what, if not sound, unites the work of these artists? Ultimately, through practices of mobilizing bodies and staging participation, they deploy forms of composition: they construct and compose radical forms of commonality and collectivity.

April 20
Hendrik Folkerts : Calls for Assembly
Moderator and Discussant: Manray Hsu (Independent Curator)

Taking his 2016-essay "Keeping Score. Notation, Embodiment and Liveness" (South as a State of Mind) as a point of departure, Hendrik Folkerts will speak about the notion of the score. The score, as a musical but also as a visual apparatus, conditions a specific relationship between language, time and space. In the second half of the 20th century, composers and artists – using musical, visual and graphic languages – have advanced the score as a device that can both premeditate and emerge from the moment of performance, complicating the transition between score, live performance and documentation. In addition, such scores often design the spatial and social conditions in which a performance takes place, proposing space, architecture and social structure as parameters of a musical or performative work. While highlighting different typologies of scores, anchored in the visual arts, music, choreography and exhibition-making, Folkerts will focus on Cornelius Cardew, Jani Christou, José Maceda and Pauline Oliveros as composers who highlight the social as an imperative to the execution of the score.

 

About the Lecturer

 

1.Adel-Jing Wang

Academically trained in performance studies, Adel-Jing Wang is an associate professor in the College of Media and International Culture at Zhejiang University.  Her book Sound and Affect: An Anthropology of China’s Sound Practice (Zhejiang University Press, 2017) explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture.   She is published in academic journals including LeonardoLeonardo Music JournalJournal of Popular Music StudiesRepresentations, and International Review of Qualitative Research.  Her current research focuses on sound studies, sensory studies, performance studies, and anthropological methods.  Artistically, She works primarily with field-recordings and installation based live performance. She explores listening and field-recording as a kind of socio-political, spiritual and cultural practice of sound.  In August 2014, with local artists she co-founded BUS, a non-profit organization, to organize and promote experimental and avant-garde art practices. In January 2015, she founded The Sound Lab at College of Media and International Culture at Zhejiang University.  Her Personal website www.sonorouspresence.org

 

 

2. Samson Young

Born in Hong Kong in 1979, Samson Young is an artist and composer. Behind each project of his is an extensive process of research, involving a mapping of the process through a series of “sound sketches” and audio recordings. His drawing, radio broadcast, performance and composition touch upon the recurring topics of conflict, war, and political frontiers.

 

Young was the inaugural winner of the BMW Art Journey Award at Art Basel Hong Kong 2015, and in 2017 he represented Hong Kong at the 57th Venice Biennale. Other solo presentations include Hiroshima City Museum of Contemporary Art (Japan, 2015), Team Gallery (New York, 2015), Para/Site (Hong Kong, 2016), Experimenter (India, 2016); Kunsthalle Düsseldorf (Germany, 2016) and Centre for Chinese Contemporary Art (Manchester, 2017). Upcoming projects include the 21st Biennale of Sydney (2018), the Solomon R Guggenheim Museum in New York (2018), and the Talbot Rice Gallery as a part of the 2019 Edinburgh Festival.

 

Young is the member of multiple bands and has collaborated with ensembles worldwide. He has participated in international music and performing art festivals including Manchester International Festival, Internationale Ferienkurse für Neue Musik Darmstadt, Fusebox Festival (Austin), New York Electronic Art Festival, Tonlagen Festival (Dresden), Transart Festival (Bolzano), and MONA FOMA Festival of Music and Art.

 

3. Hong-Kai Wang

Born in Huwei, Taiwan, Hong-Kai Wang is an artist, researcher and educator based in Vienna and Taipei. She is currently a PhD in Practice candidate at Academy of Fine Arts Vienna.

 

The process of Wang’s research-based practice is profoundly informed by the unceasing tension between languages, ideologies, identities and knowledge regimes she experienced growing up on an island long plagued by histories of colonialism. It is situated at the intersection of aesthetic, discursive and knowledge production, often concerned with politics of missing knowledges resulted by encounters between histories, lived experience and power. Through experimenting with modes of listening, organizing pedagogy as temporary gatherings, mobilizing collaborative sociality as performance, and encouraging alterior bodily interpretations, Wang’s practice often seeks to forge unlikely affiliation beyond received chronologies and geographies in the milieu of art and discourse making as well as studying and teaching in art. Her works span performance, installation, workshop, publication, sound work, etc.

Wang has presented her practice internationally at Documenta 14, Taipei Biennial, Parasophia Kyoto International Festival Contemporary Culture, Liquid Architecture, Kunsthall Trondheim, Museum of Modern Art New York, Taiwan Pavilion, the 54th Venice Biennale among others.

 

Wang is currently part of the MFA Music/Sound faculty of Bard College. 

 

 

4. Amy Cheng

Amy Cheng is a curator and writer based in Taipei. She co-founded TheCube Project Space with Jeph Lo in 2010, which serves as an independent art space devoted to the research, production and presentation of contemporary art in Taipei. She has curated various exhibitions including The Heard and the Unheard: Soundscape Taiwan, Taiwan Pavilion at the 54th International Art Exhibition – La Biennale di Venezia (2011), the exhibition series Re-envisioning Society (Taipei, 2011-2013), Shamans and Dissent (Hong Kong, 2013) and Towards Mysterious Realities (Taipei, Seoul, 2016/2018). She also co-curated these exhibitions: Melancholy in Progress: The 3rd Taiwan International Video Art Exhibition (2012), ALTERing NATIVism – Sound Cultures in Post War Taiwan (2014), Phantom of Civilization (Luxembourg, 2015), and Tell Me a Story – Locality and Narrative (Shanghai, Torino, 2016/2018). She has also been appointed a jury member of the 57th International Art Exhibition of La Biennale di Venezia (2017). 

 

 

5. Jeph Lo

Jeph Lo co-curated the exhibtion Altering Nativism: Sound Cultures in Post-war Taiwan (2014), and also worked as the chief editor of the exhibition's catalogue/reader. Lo is the co-founder of TheCube Project Space (Taipei), the main contributor to and editor of Walk the Music - Taipei MusicMap since ’ 90 (2000), and translator of Altered States: The Story of Ecstasy Culture and Acid House (2002).

 

 

Douglas Barrett

 

 

 

DOUGLAS BARRETT is an interdisciplinary artist, composer, and writer.

His work has been discussed in publications such as The Wire, Postmodern Culture, MusikTexte, and Guernica. Presenting his work regularly throughout North America, Europe, and Japan, Barrett was a recent artist-in-residence at USF Verftet (Norway), the Virginia Center for the Creative Arts (VCCA), and the Catwalk Institute (New York). He has received grants from Akademie Schloss Solitude (Germany), DAAD (German Academic Exchange Service), and Franklin Furnace (New York). His writing has been published in Postmodern Culture, Contemporary Music Review, Mosaic, Glissando, and Tacet. His book, After Sound: Toward a Critical Music, was published in 2016 by Bloomsbury.

 

ARTIST STATEMENT

Is critical practice possible today? Situated within the contexts of contemporary art and music, my work integrates conceptualism, social practice, and activist strategies through performance and time-based media. I create scores, videos, texts, recordings, and objects using music as both form and subject matter. As an integral strategy, I revise and reuse existing artworks, pieces of music, historical texts, and performances to produce new texts. I refer to this process, and the projects in which it appears, as transcription. Through various intersections—between forms, contexts, temporalities—these projects engage a constellation of problematics: identity, exchange, history, knowledge, and politics. The result is a push, if perhaps only marginal, in the direction of criticality’s ever-receding horizon.

 

 

     
 

6. Hendrik Folkerts

 

Hendrik Folkerts (M.A., Art History, University of Amsterdam) was recently appointed the new Dittmer Curator of Modern and Contemporary Art at the Art Institute of Chicago. His commitment to performance and body politics, global and feminist art histories, and supporting the work of contemporary artists through the process of commissioning, will unfold in exhibitions, collection presentations, performance and research programs – starting with the exhibition I strongly believe in our right to be frivolous of the work of Lebanese artist Mounira Al Solh (February 8 – April 29, 2018) and a biannual performance series starting in 2018.

 

He was curator at documenta 14 (Athens, April 8 – July 16 / Kassel, June 10 – September 17, 2017) from 2014 until 2017. With a focus on performance and scores, indigenous practices and Southeast Asian & Pacific art, he curated a larger number of new artist commissions and together with the team led by artistic director Adam Szymczyk, was responsible for the exhibition in Athens and Kassel.

 

Prior to this, Folkerts was Curator of Performance, Film, and Discursive Programs at the Stedelijk Museum in Amsterdam (2010 until 2015). From 2009 to 2011, Folkerts was coordinator of the Curatorial Program at de Appel Arts Centre in Amsterdam. His texts have been published in journals and magazines such as South as a State of Mind, Mousse Magazine, Artforum International, The Exhibitionist, Metropolis M, Art & the Public Sphere and in various catalogues and artist publications. Folkerts is coeditor of The Shadowfiles #3: Curatorial Education (2013), Facing Forward: Art & Theory from a Future Perspective (2014) and the journal Stedelijk Studies #3: The Place of Performance (2015).

 

 

About the Curator

Guo Jau-Lan

GUO Jau-Lan is an independent curator and art writer based in Taipei. Guo works as associate professor at Department of Fine Arts, Taipei National University of Arts. Her research interest and curatorial practice have focused on the dynamic relationship between art and social reality. She has curated numerous exhibitions including sound art exhibition in National Art Museum :Polyphonic Mosaicsound art feature in ARTCO Magazine : “Within Sound and Above Curatorship: Axes and Position of Sound Art and Its Curating” September 2014)、”Amnesia and Malevich’s Pharmacy ” :reflection on TFAM collection as system”(TFAM, 2016)and Taiwanese Contemporary Art (TCA Project) (ISCP, New York, 2011) : a performative curating. Guo is the nominator of Taiwan Pavilion, 57th Venice Biennial.

 

 

 

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